Immigration Law Romantic Comedy makes up a very exclusive subset of the chickflick genre, and thereâ€™s a new kid on the block. Great White (North) Hope Sandra Bullockâ€™s â€œThe Proposalâ€ arrives with heavyweight credentials and high expectations for box office punch.
A Canadian Ã¼ber-bitch book editor threatened with deportation strong-arms her assistant into an arranged engagement; complications and frolics ensue. Almost two decades ago, Peter Weir constructed his own little Valentine to New York City and unlikely romance when a Frenchmanâ€™s marriage of convenience and â€œGreen Cardâ€ is threatened by an official immigration investigation. These immigrants are adorable, and they want to stay forever. Which begs the question: If no American falls in love with an illegal immigrant, does a tree fall in the woods? Or something like that.
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In â€œThe Proposal,â€ dancer turned choreographer turned director Anne â€œ27 Dressesâ€ Fletcher doesnâ€™t missÂ a romcom convention trick here; any over-initiated romcom afficianado can count them off as they accumulate like smashed bugs on the roadtrip windshield. The awkward set-up, the unconvincing animosity, the charged first kiss, the forced sharing of sleeping quarters, the omnipresent and insipid old girlfriend, accidentally seeing each other naked, the makeover, the tragically wrong choice of shoes, the requisite dirty old lady, the perverted foreigner, the overly aggressive pet, the rescue, the aborted wedding, the multi-vehicle chase, the proposal/declaration of love before co-workers/family. Check. Check. Check please.
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The Defending Champion
In “Green Card,” Australian Peter Weir wrote and directed this romantic comedy tailor-made for its stars Gerard Depardieu and Andie MacDowell, featuring a marriage of convenience already in place; Georges needs a green card and BrontÃ«â€™s Edenic greenhouse of a penthouse apartment rents only to married couples. Their marriage a mostly forgotten fait accompli, Georges and BrontÃ« lead entirely separate lives, both independently functioning adults with lives and friends and families when the movie begins. Oh sure, BrontÃ«â€™s earthbound beau may not be entirely worthy of her, but sheâ€™s a bit of a stuck-in-the-mud wallflower herself. It will take an idiosyncraticallyÂ romantic suitor/wildman to bring the roses to this daffy horticulturalistâ€™s cheeks, and Georges is just the Frenchman to do the job.
Sandra Bullock is a canny actress and even cannier movie star, still a few years away from hitting the romcom wall; in â€œProposalâ€, she looks positively ravishing. Her much-touted and intricately choreographed (if hamhandedly plotted) nude scene is clever and classy/modest, concealing as much as it reveals, and her legs and body are ridiculous. Still, the force of her irresistible charm and personality doesnâ€™t quite disguise the thinness of the character sheâ€™s given to play. Another in a seemingly endless parade of supposedly intelligent career women who do nothing to prove theyâ€™re capable of even tying their own shoelaces, we learn precious little about her: Margaret canâ€™t swim, her parents are dead, and while sheâ€™s a leadpipe bitch on stiletto-ed wheels, underneath it all beats a (yawn) heart of movie-style mush. Ryan Reynolds delivers a more perplexing co-starring performance; Iâ€™m not sure he possesses the quirky star quality that could elevate material this generic. While he brings a certain foursquare adequacy and decency, no matter how many talk shows and magazine covers he graces with his personal charm and six-pack abs, onscreen thereâ€™s just not much there there.
Mary Steenburgen has precious little to make of her mother/wife role, and Craig T. Nelson plays a diffidently grumpy smalltown tycoon villain dad. Betty White makes the most of an atrociously conceived nonagenarian; one wishes she had been left to adlib the dirty old lady role she plays so winningly on the talkshow circuit. Denis Oâ€™Hare struggles to make the most of the thankless officious villain; in films, immigration/government officials are the stock bad guys, lip-licking martinets and chinless sadists.
Every breadcrumb that gets dropped on the way into this thicket of chickflick conventions gets served up whole in short order, as reliable and packed with no-surprise as a home-baked loaf of slightly stale cornbread. The crumbs are clumsy slices, delivered in italics. If Grammy finds out the truth, sheâ€™ll have a heart attack. If the dog gets outside, an eagle will snatch him. If that creepy Hispanic guy shows up in one more cameo, Iâ€™m calling Immigration.
â€œGreen Cardâ€ doesnâ€™t quite telegraph its intent or tip its ending. In order to convince immigration officers that theirs is not a marriage of convenience, Georges and BrontÃ« move in together and of course, they start to fall in love. Still, it works slowly; these romantic leads are pricklier than most, no garden-variety romantic leads. These characters are specific, well-drawn and multi-faceted. Thereâ€™s neurosis here and personal history, the sense of life interrupted by burgeoning and ill-advised romance and duplicitous farce. Georges and BrontÃ« are hardly meant for each other; they share virtually nothing in common but their marriage. Their obstacles are real, and the feelings and complications land with more gravity and less easy resolution than in the lightweight confection â€œThe Proposal.â€
Immigration officials test the realities of relationships with a series of questions that reveal precious little but detail, a sort of â€œNewlywed Gameâ€ asked for the privilege of residence, inclusion, and citizenship.
â€œGreen Cardâ€ celebrates New York City with a real woozy affection. This New York is populated with eccentrics of every age and every ethnicity; the New Yorkers are citizens of a greater world. Perhaps it takes a foreigner to get the melting pot of New York exactly right. I should confess, Gerard Depardieu may be my favorite actor of all time, and this may be one of his finest English language performances. With lovely turns in â€œFour Weddings And A Funeralâ€ and â€œGreen Card,â€ Andie MacDowell earned her a much-coveted seat in my personal pantheon of RomCom SuperChicks.
Perhaps what we love most about romantic comedy is the lovely lie at its very center. That presence, or rather, proximity makes the heart grow fonder. Alas, were this simple formula the case, arranged marriages would work swimmingly, and divorces would be rare. In movies, all it takes to fall in love is familiarity and recognition, a few randomly chosen and carelessly shared details, a glimpse into family life for instance or the revelation of a tattoo or family tragedy. Itâ€™s a lovely fiction that all it takes to be loved and lovable is to tell all. To be known is to be loved. Thatâ€™s what women want to believe. If we talk long enough, someone will know us and love us, and theyâ€™ll stay.
People are going to go see â€œThe Proposal.â€ I canâ€™t stop them and, truth be told, I donâ€™t even want to. Itâ€™s stupid and itâ€™s predictable, but no puppies or old ladies were actually killed while making it. Besides, Sandra Bullock has earned her fans, and they will not be disappointed. Iâ€™ve seen way too many mediocre chickflicks in the past couple of years, and theyâ€™re starting to melt together like a box of chocolates left in the Southern California sun. Iâ€™m probably more burned out and critical than most. Still and all, if youâ€™ve got a hankering for a date night movie that wonâ€™t leave you wanting, I heartily recommend you rent â€œGreen Card.â€ It pre-dates all the formulaic drivel the studios have been grinding out like so much sausage in the two intervening decades, and it sets a standard most miss by a This-Is-My-Country mile.
Thank you for reviews. I can’t wait more for this movie. I have heard that this is fantastic movie made by “Anne Fletcher”. The movie is full of romance and comedy. It is worth to watch this movie on theatre with your girl friend or boy friend.
Blame The Taming of the Shrew. Not my fantasy, not by a long shot. Not remotely my life. Ask anyone who knows me.
We vote with our pocketbooks with the hopes that movies will reflect our lives, that they will improve…and I believe that incrementally and eventually, our dreams will come true. In the meantime, what’s our best recourse? We could boycott all the bad chick flicks and the stale rom com conceits, but then what? Industry wisdom would only prevail: that men and women will watch movies about men, and no one watches movies about women.
I encourage women writers and directors and filmmakers to turn the page, to invent a new archetype or two or three. When I write, I try to write honestly, to service characters that represent my version of reality, to advance the cause and to entertain. I encourage women actors to choose their projects carefully, to keep all our interests in mind when saying yes.
I’m ranting. Stop me. Or don’t. Meanwhile, allow me my Tom Joad moment.
I’ll be all around in the dark – I’ll be everywhere. Wherever you can look – wherever there’s a moronic and unmotivated catfight, I’ll be there. Wherever there’s a girl getting a stupid makeover, I’ll be there. Smacking them down and hoping for better.
Lack of cake-sharing is a big dealbreaker. Way above infidelity on the list of unforgivables.
I’m kind of surprised your review doesn’t make more of the fact that The Proposal perpetuates the now-stock romcom clichÃ© of the Successful and Independent Working Woman Who Is In Reality Deeply Unhappy With Her Career And Just Needs the Tender Love of a Man.
At this point, shouldn’t this stupid convention get retired? Can’t a female character be successful in her job AND not be a heartless, prickly bitch? The worst part is that it’s women who are funding these films by buying the tickets.
Parts of this movie REALLY made me think of the link you posted in an earlier review (the top ten chick flick clichÃ©s as enacted by the men of “He’s Just Not That Into You”). And yet it was not *bad*. Like you, I’ve seen so many bad movies in the last year that this one was very innocuous. For example, have you seen “Made of Honor”? I watched part of it on TV the other night… While having dead parents or having a tattoo or liking this or that specific song isn’t exactly a deep revelation of character, it’s at least a noble attempt. I mean, in “MOH” the only way the girl knows that the bland guy she’s marrying (as opposed to the equally bland cad the movie tries to convince us she SHOULD be marrying) is wrong for her is that he won’t give her a bite of his cake. Does Hollywood really think we’re that stupid?
Well, I married a foreigner. But, because I moved from the USA to the U.K., I have become the expat. Too bad I didn’t jump the pond pre-9/11. If only emigrating in 2009 were as funny as “Green Card.”
I think Ryan is so cute in this film, I don’t care if the film is any good.
Because Green Card felt like it could have been an authentic story of a real person, and The Proposal feels like it was written by a software program.
1492: Conquest Of Paradise was an atrocious debacle from Ridley Scott, yet Depardieu managed to rise above the lacklustre material he was forced to deal with and put in a decent performance. I’ll agree with you there.
I saw the trailer to The Proposal and figured it was yet another one of those films they make where the guy and girl start off hating each other, do stupid things to each other, and end up falling in love (or something like that). Films like that annoy me to the point of avoiding like the plague. Like any guy would agree to marry his boss to keep his job! The conceit of this film automatically relegates it to the bargain bin DVD shelf. No doubt my wife might like it, but it smacks of sexist, absurdly inane storytelling with little-to-no redeeming features (and I agree with you about Betty White – jeez, give it a rest already would you woman… it’s the same role she’s played in every films I’ve seen her in) that means I’ll gladly never, ever, watch it. Ryan Reynolds needs his head read for agreeing to star in crud like this. He’s much better than this.
Oh, and Green Caard was a delightful film.
Au contraire. EVERYTHING about that man.
To wit, and in no particular order: Jean de Florette/Manon of the Spring, Danton, Les Comperes, The Return of Martin Guerre, La Chevre, The Last Metro, Camille Claudel, Cyrano de Bergerac, Tous les Matins Du Monde, 1492: Conquest of Paradise, Get Our Your Handkerchiefs, 1900, Going Places, Loulou, The Woman Next Door, Vatel, The Closet, The Bridge, Balzac…I could go on and on…
I think I’ll skip The Proposal and go directly to Green Card – not because I don’t like Bullock, but because I’d forgotten how much I love Depardieu in almost anything he did. Something about that man.